{"title":"“没有人会为这样的事情做好准备。”——以《德军总部:新秩序》为例谈第一人称枪击案中大屠杀的辩证法","authors":"Eugen Pfister, Felix Zimmermann","doi":"10.1515/iph-2021-2020","DOIUrl":null,"url":null,"abstract":"Abstract For almost three decades, the depiction of the Holocaust was considered taboo in digital games. While World War II became a popular historicizing setting for digital games, the crimes of the Nazi regime and the Holocaust in particular remained conspicuously absent. In this article we show that discussions about the fundamental suitability of specific media or media forms for dealing responsibly with the memory of the Nazi regime’s crimes have already taken place several times and that similar arguments can now be applied to the digital game. With this in mind, we pursue the question of whether only so-called serious games are suitable for this purpose, or whether, on the contrary, mainstream blockbuster games – here specifically the first-person shooter Wolfenstein: The New Order – can find ways to maintain the memory of the Holocaust without trivializing it. We approach this question by analyzing chapter 8 of Wolfenstein: The New Order, in which protagonist William “B.J.” Blazkowicz allows himself to be deported to a Nazi concentration camp. We discuss this camp scene dialectically, on the one hand, as an encouragement to rethink the first-person shooter and, on the other hand, as a reproduction of a superficial iconography of the Holocaust.","PeriodicalId":52352,"journal":{"name":"International Public History","volume":null,"pages":null},"PeriodicalIF":0.3000,"publicationDate":"2021-06-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":"1","resultStr":"{\"title\":\"“No One is Ever Ready for Something Like This.” – On the Dialectic of the Holocaust in First-Person Shooters as Exemplified by Wolfenstein: The New Order\",\"authors\":\"Eugen Pfister, Felix Zimmermann\",\"doi\":\"10.1515/iph-2021-2020\",\"DOIUrl\":null,\"url\":null,\"abstract\":\"Abstract For almost three decades, the depiction of the Holocaust was considered taboo in digital games. While World War II became a popular historicizing setting for digital games, the crimes of the Nazi regime and the Holocaust in particular remained conspicuously absent. In this article we show that discussions about the fundamental suitability of specific media or media forms for dealing responsibly with the memory of the Nazi regime’s crimes have already taken place several times and that similar arguments can now be applied to the digital game. With this in mind, we pursue the question of whether only so-called serious games are suitable for this purpose, or whether, on the contrary, mainstream blockbuster games – here specifically the first-person shooter Wolfenstein: The New Order – can find ways to maintain the memory of the Holocaust without trivializing it. We approach this question by analyzing chapter 8 of Wolfenstein: The New Order, in which protagonist William “B.J.” Blazkowicz allows himself to be deported to a Nazi concentration camp. We discuss this camp scene dialectically, on the one hand, as an encouragement to rethink the first-person shooter and, on the other hand, as a reproduction of a superficial iconography of the Holocaust.\",\"PeriodicalId\":52352,\"journal\":{\"name\":\"International Public History\",\"volume\":null,\"pages\":null},\"PeriodicalIF\":0.3000,\"publicationDate\":\"2021-06-01\",\"publicationTypes\":\"Journal Article\",\"fieldsOfStudy\":null,\"isOpenAccess\":false,\"openAccessPdf\":\"\",\"citationCount\":\"1\",\"resultStr\":null,\"platform\":\"Semanticscholar\",\"paperid\":null,\"PeriodicalName\":\"International Public History\",\"FirstCategoryId\":\"1085\",\"ListUrlMain\":\"https://doi.org/10.1515/iph-2021-2020\",\"RegionNum\":0,\"RegionCategory\":null,\"ArticlePicture\":[],\"TitleCN\":null,\"AbstractTextCN\":null,\"PMCID\":null,\"EPubDate\":\"\",\"PubModel\":\"\",\"JCR\":\"Q2\",\"JCRName\":\"HISTORY\",\"Score\":null,\"Total\":0}","platform":"Semanticscholar","paperid":null,"PeriodicalName":"International Public History","FirstCategoryId":"1085","ListUrlMain":"https://doi.org/10.1515/iph-2021-2020","RegionNum":0,"RegionCategory":null,"ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":null,"EPubDate":"","PubModel":"","JCR":"Q2","JCRName":"HISTORY","Score":null,"Total":0}
引用次数: 1
摘要
近30年来,关于大屠杀的描述一直被认为是数字游戏中的禁忌。虽然第二次世界大战成为数字游戏的流行历史背景,但纳粹政权和大屠杀的罪行却明显缺席。在这篇文章中,我们展示了关于特定媒体或媒体形式在负责任地处理纳粹政权罪行记忆方面的基本适用性的讨论已经发生了几次,现在类似的论点可以应用于数字游戏。考虑到这一点,我们探讨的问题是,是否只有所谓的严肃游戏才适合这一目的,或者,相反,主流大片游戏——特别是第一人称射击游戏《德军总部:新秩序》——是否能找到保持对大屠杀记忆的方法,而不使其琐琐化。我们通过分析《德军总部:新秩序》(Wolfenstein: The New Order)第8章来探讨这个问题。Blazkowicz允许自己被驱逐到纳粹集中营。我们辩证地讨论这个营地场景,一方面,作为对第一人称射击游戏重新思考的鼓励,另一方面,作为对大屠杀的肤浅图像的再现。
“No One is Ever Ready for Something Like This.” – On the Dialectic of the Holocaust in First-Person Shooters as Exemplified by Wolfenstein: The New Order
Abstract For almost three decades, the depiction of the Holocaust was considered taboo in digital games. While World War II became a popular historicizing setting for digital games, the crimes of the Nazi regime and the Holocaust in particular remained conspicuously absent. In this article we show that discussions about the fundamental suitability of specific media or media forms for dealing responsibly with the memory of the Nazi regime’s crimes have already taken place several times and that similar arguments can now be applied to the digital game. With this in mind, we pursue the question of whether only so-called serious games are suitable for this purpose, or whether, on the contrary, mainstream blockbuster games – here specifically the first-person shooter Wolfenstein: The New Order – can find ways to maintain the memory of the Holocaust without trivializing it. We approach this question by analyzing chapter 8 of Wolfenstein: The New Order, in which protagonist William “B.J.” Blazkowicz allows himself to be deported to a Nazi concentration camp. We discuss this camp scene dialectically, on the one hand, as an encouragement to rethink the first-person shooter and, on the other hand, as a reproduction of a superficial iconography of the Holocaust.